John and Craig reach into the listener mailbag and come up with questions about laying out lyrics, foreign dialogue, overall deals and title trademarks.
Linda Holmes worries that 30 Rock has infantilized Liz Lemon. I disagree.
I’ve only just started reading Danny Rubin’s How to Write Groundhog Day, but it’s promising enough that I think many screenwriters will want to take a look at it this weekend.
When I criticized Rob Ager’s analysis of spatial impossibilities in The Shining, I didn’t realize the extent of wild theories about Kubrick’s film.
Craig and John discuss the screenwriter’s role in casting, then segue to the New York Times profile of producer/executive Lindsay Doran’s approach to story.
All movies exist in unreal time, not because of cuts and gimmickry, but because the experience of watching a movie involves surrendering to that film’s reality. We go into dream mode, especially when watching something on a giant screen in a dark theater.
Standardization is good. Differentiation is good. But they’re competing forces. You can only differentiate your product by moving away from a standard.
Lauren Bagby offers an office PA’s perspective how it feels when your show gets cancelled.
Over at Tom the Dancing Bug, Ruben Bolling looks at how journalists have a faulty memory when it comes to past award seasons.
Craig and I talk a bit about the effects of first-sale doctrine in this week’s podcast, but we don’t define it. So let’s do that here.
I’d missed this piece from November by Jesse Lasky in which he describes his first experience pitching a TV show.
The second season of Downton Abbey debuts Sunday in the U.S. As I’ve discussed on the podcast, I couldn’t wait and bought it off the UK iTunes Store. I’ve already watched the whole second season and the Christmas episode.
So, for American audiences, here’s a non-spoilery preview of what I found notable about this season.
Pivoting of the discussion Craig and I had about Charlie Kaufman’s speech, Josh Barkey outlines a path that may lead screenwriters to resent their audiences.
Redbox, the DVD rental kiosk company, sent out a press release with a list of their most-rented titles for 2011. The winners are not who you’d expect.
Theresa Couchman wishes Pixar hadn’t played into princess tropes for their first female-driven movie.
Craig and John explain what producers do — at least, what they’re supposed to do — and discuss the myriad subclasses of producers that litter the opening titles of many movies.
For work this afternoon, I needed to read a screenplay written in the early 1970s. I think it’s the earliest-dated script I’ve read that wasn’t reprinted in a book.
Musical numbers are a lot like action sequences: you’re trying to convey how it’s going to feel in the final movie, not beat out every little moment.
Craig and John plug a book by their very first sponsor and discuss elective brain surgery, before tackling an exhaustive but illuminating list of questions from listener Daniel Barkeley.
Comparing Archer’s actual script to my transcript-y approximation shows a little bit more about how Adam Reed’s show works.
Archer does a strange thing I haven’t seen in many shows: the final line of a scene often serves as the first line of the next scene.
Screenwriter and TV scribe Christine Boylan talks through her work habits and tools.
In the spirit of the season, let us say thanks to Wikipedia for this comprehensive list of fictional diseases.
Jamie Jensen recently wrote and co-directed her first feature with Nadia Munla. I asked her to talk about her experience taking a project from graduate school thesis script to finished film. In 2007, I moved from New York City to Los Angeles to pursue a screenwriting career. I did it by way of the Peter […]
A new browser extension points out an interesting and esoteric problem in English: “her” functions as both an objective pronounce and a possessive one.